Eva has written 20 reviews for films rated ★★★½ .

  • Sleepaway Camp

    Sleepaway Camp


    really truly loved whatever insane bullshit was going on w gender here,

  • The Howling

    The Howling


    solid, if a little dull in stretches. all the message-y bits about human nature and new age psychology kind of fall flat but in the campier moments it seethes with an almost de palmaesque lunacy of form, a sadistic pleasure in the lurid plasticity of vfx as it deranges the human body. in stretches sort of a less elemental and more academic take on a subset of what cronenberg was doing in the brood, somehow? i love that the news lady's werewolf form looks like a lil terrier, great bit

  • Necronomicon



    this shit actually goes kind of crazy hard like...any individual segment feels weightless and goofy with mostly vibes and really solid and fun effects work holding it together but the way it loses any sense of like self-import or pomposity held over from its nominal inspirations in order to just go increasingly hamfisted batshit vulgar and wacky with each progressive segment until it's doing what feels like precog ps2 survival horror pastiche somehow with a climax pulled right out the…

  • The Funhouse

    The Funhouse


    scooby doo but really mean

  • She Dies Tomorrow

    She Dies Tomorrow


    seimetz's work is fleet and multivalent in its semiotics, not performing arthouse charlatanisms of vaporous suggestion but rather operating in a dialectic between the concrete and abstract realities of affect. this dialectic unfolds in outward-spiralling epicyclic transformations, prominently realized in the rapturous hallucinations that signal the onset of certain mortality for the quotidian maladapted. trauma exists as a half-spoken omnipresence, but moreso in the viscera and microbiome of the film's most aesthetically outre gestures than in its elliptical, temporally disjoint…

  • Midori



    a good account of how misogynistic commodification and consumption of vulnerable girls and their bodies is as much in force at the margins as it is everywhere else, a counterpoint to the fantasy of community in the presence of other freaks which is as bluntly miserabilist in its narrative momentum as possible but whose moments of abstraction are so rapturous that the monotonicity of the rest is forgivable. great gowns, beautiful gowns....maybe pair it with Katherine Dunn's Geek Love? idk

  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)


    a Certified Good Time at the Movies, owning up to the titular character's origins as a literal cartoon character right from the start, less concerned with the kind of faux-verisimilitudinous posturing that seems to infect the aesthetic sensibilities and fight choreography of every superhero movie made in the last decade than it is with being clean, dumb candy-colored fun. definitely aware of its own uselessness as the kind of liberal feminist text its superficial branding and narrative trajectory are trying…

  • Burnt Offerings

    Burnt Offerings


    a shockingly mean-spirited joke at the expense of the classic family, Karen Black’s Marion a housewife so devoted to her work of tidying and caretaking that she becomes a mere instrument of the home she tends so lovingly, Oliver Reed’s hypermasculine swagger reduced to a child cowering in the corner of a room by a semi-elided childhood trauma, the so-called perfect home feeding on its inhabitants to reinscribe an eternal, ahistorical image of outward perfection and family complete. what a strange, bleak, and ungainly thing this is, and the better for it

  • Time Regained

    Time Regained


    almost certainly one of the most complex deployments of Ruiz’s style, characterized by a restlessness and constant reflexive (yet propulsive) forward motion that rivals Proust’s own extraordinarily sensuous prose, and a film that is often tremendously moving, which is why I wish I liked it more than I did. unfortunately, as irresistible as this often was on a moment-to-moment level, structurally it’s shapeless and underdetermined, not to mention overlong but still incapable of rendering the obsessions which animated Proust’s work…

  • Bully



    "that's fucking sick, that's gross...nature sucks"

    mostly convincing as an account of white middle class suburban masculinity (yet slightly hamstrung by a shaky understanding of its female counterpart), with the attendant class antagonism and sublimated queerness and systemic failure integrated to varying degrees of success. sometimes eerily plausible, often totally inauthentic, but still Clark has an unexpected (but not unwelcome) degree of formal control here that holds everything together even through the rough stretches

  • House of 1000 Corpses

    House of 1000 Corpses


    starts out as a chopped-and-screwed Texas Chainsaw Massacre riff with History Channel cryptid documentary aesthetic sensibilities and ends (quite effectively) as an Argento-esque (lol) explication of the logic of a nightmare space. wonderful anti-yuppie propaganda, agitates for the reclamation of trashiness from middle-class suburbanite hacks

  • The Last Airbender

    The Last Airbender


    against the action movie, some kind of post-wuxia masterpiece about the moments of near-stillness right before a blow lands. absolutely, inarguably a failure as an adaptation, yes, and yet this film is so totally disinterested in ever inhabiting that role that it’s easy to forgive. divests every character of anything resembling human affect and delivers information about the world with a completely alien, almost unintelligible logic (understandable that neophytes are somewhat bewildered), operating in a mode totally orthogonal to every…